Composer/Lyricist, Librettist & Lecturer in Musical Theatre

"...Dracula was
alluring, seductive and compelling. The music was pitch perfect and the songs were
addictive. A few of the songs reminded me of Les Miserables and The Phantom
of the Opera. A truly impressive selection of new music that you will remember long
after leaving the show.

A university production worthy of a West End stage. I would love to see this show again,
it would definitely become one of my favourites..."

A wonderful evening of storytelling.
This beautiful new musical has a perfect blend of a new score, great book, talented
cast and winning direction

BROADWAY
WORLD

superbly
conceived and realised there is so much to admire in this production the
fusion of the Victorian novel and musical theatre is remarkable

MUSICAL THEATRE REVIEW

Clever direction the cast is no less than superb a charming
score A welcome addition to the roster of new British book musicals

THE LONDONIST

a wonderful musical evening

UK THEATRE NETWORK

an exciting and accessible production. The musical
score with its notable numbers will leave you humming a glorious afternoon.

JONATHAN BAZ

****

wonderfully fresh and dynamic a masterpiece,
not only of musical intensity but also of outstanding stagecraft a beautiful new
musical

PLAYS TO SEE

****

astonishingly
good stunning thoroughly enjoyable

REMOTEGOAT

****

sheer enchantment from start to finish songs
that could easily become standards

MELLOWDAY LONDON

*****

this
is the best new musical to hit the Off-West End stage in years divine work

THE UPCOMING

****

a
magnificent performance

REVIEWSGATE

this
fine musical a first rate cast worth seeking out without delay.

STAGE REVIEW

atmospheric and melodic
a bold and well told story

GRUMPY GAY CRITIC

really great new British musical writing the score is rich, vibrant, and
original

GINGER HIBISCUS

****

a phenomenal ensemble performance this is
something incredibly special

Past Productions

2014

Bel-Ami(book,
music & lyrics)
London College of Music, University of West London
Watermans Theatre, Brentford (previews) & Charing Cross Theatre, West End

2010

The Remains of the Day(book, music & lyrics)Simon James Collier in association with Fallen Angel Theatre and Ben David Productions
Union Theatre, Southwark
Sponsored by the Arts Council England and the National LotteryAdapted in collaboration with Kazuo Ishiguro Evening Standard Critics Choice
& Time Outs Best Theatre This Month
Featured on the Today programme (BBC Radio 4)

Creating a new musical is always an ambitious project and this world premiere, based
on the 1885 novel by French author Guy de Maupasssant, is a zeitgeisty take on the media
establishment even as today's tabloid journalists are lining up in the dock for their part
in the phone hacking scandal.

Performed by students at London College of Music,
University of West London, the production displays a wealth of young talent who sing the
house down thanks to superb music and lyrics by Alex Loveless, who seems to use an unusual
mishmash of 80s synth and modern pop as his reference points.

catchy music the fabulous cast finish in
style. The final verdict: those who love their musicals will delight in such an inventive
adaptation 

Loveless edgy, pumping music definitely
delivers. At their best, the musical numbers are biting, satirical commentaries on modern
life  rarely do the words Sunni, Shia and Al
Qaeda make it into musical theatre  and the most ambitious numbers manage to
concentrate and develop the plot, turning songs into entire mini-scenes.
Love/Hate, for example, probably my favourite segment of the night, segues
neatly from the death and funeral of Durys boss Forester to a wedding between Dury
and Foresters widow, riffing on the theme of a Dies Irae.

No Going Back, a quintet for female voices,
is also nicely realised, as is the hilarious Too Much Money, which gives Brett
Jay-Davis a delightful spell in the spotlight. The lyrics are witty and contemporary
(trial by media trial by Wikipedia ), and the book is peppered with
delicious Dorothy Parker-esque bon mots.

I was surprised by an edgy night of new music that, in my
notes, I judged as lying somewhere between Chess, American Psycho and Evita. a
thrilling, bold and wickedly amoral night out that showcases some of the next wave of
musical theatre talent.

Musical Theatre Review  Bel-Ami

Centring on the intertwined worlds of journalism
and politics, Guy de Maupassants novel, Bel Ami, told of corruption, greed,
immorality and hypocrisy at the highest level of public life. The original setting was
France in the 1880s, but crossing

the Channel and leaping forward to the 21st Century, it
is remarkable how little of the story has needed to be changed and, with the Leveson
inquiry and phone-hacking trials still hitting the headlines, it could hardly be more
topical.

The score by Alex Loveless is lively and varied,
incorporating contemporary pop, a little rap and traditional musical theatre styles. He
knows how to mix things up too, as when the show gets a little heavy in the second act, he
diverts from the main narrative and throws in Too Much Money, showing MPs frolicking in
their Caribbean playground. It is unusual in musicals for a single person to take on all
three tasks  book, lyrics and score  and Loveless needs to be congratulated
for this

Chris Loveless direction and Anthony
Whitemans choreography are fluid and imaginative, performed on an uncluttered stage
with minimal props. Most heartening is that their production shows a clear understanding
of what is uniquely possible in the art form of musical theatre. As examples: trial by
media is explained in a gem of a routine with two rival groups facing each other 
one (phone) tap dancing, the other performing a liberal shuffle; earlier a
sombre funeral merges into a joyful wedding during a single song, the characters
emotions seen to be equally shallow at each; and the corrosive effects of unethical
journalism are demonstrated with the chorus waving their red tops as they sing Read All
About it, creating visual images that endorse the cynicism of the lyrics.

Bel Ami is not the sort of of story from which we expect
a happy outcome, but this production could well lead to several of them.

The Public Reviews  Bel-Ami

Alex Loveless original musical adaptation of
French author Guy de Maupassants novel The History of a Scoundrel from 1903 is
fresh, significant and thoroughly entertaining. The musical has taken themes from the
French novel but displays them by using contemporary British political society before the
invasion of Iraq as a new setting.

Johnny Fitzharris as George Dury is seamless and whilst
Dury is arguably a villain in the musical; using manipulation and seducing numerous women;
he is not one-dimensional. What makes this character so interesting is that the audience
can see Durys unwavering belief that he is inherently entitled to status and success
and so the means he must go to make others fear him are just unfortunate collateral
damages.

Similarly, this is mirrored in the female characters that
initially appear wholly superficial and selfish but eventually are presented as chess
pieces in the society in which they exist. What also works extremely well with such a
young, vibrant cast is the modern score which features pop, rap, R&B, epic electric
guitar solos and some superb lyrics which tie the story together. Some musical highlights
include No Going Back sung by the female leads, Dont Question
Me; a powerful solo from Fitzharris and Too Much Money; a lively and
satirical ensemble number in the second act.

this show really does have it all; comedy, pathos,
some slick tapping and shuffling and exciting, fast paced scenes. Political points are
cleverly woven in without being laborious and this makes the show both slick and topical.
As well as this, the pinpointing of the artificiality of love as the punishment for these
ambitious characters is very powerful. These factors combine to form a very impressive
contemporary political musical, which has an underlying morality and a heart and
soul.

Bargain Theatreland  Bel-Ami

Johnny Fitzharris plays the charismatic
lead with strong vocals and a distinct stage presence. He has an animal lust for
women, particularly women married to men in power. He falls for the wife of the newspaper
owner and callously celebrates her husbands death. A nice touch is that the funeral
scene seamlessly merges into their shot-gun wedding. This offers an insight into the
callous attitudes and motivations behind marriage within this world.

The show is interspersed with a range of musical styles
including dance, rock and RnB. The dance routines are well-choreographed by Anthony
Whiteman and the recurring songs are catchy and rousing.

This is a contemporary take on power, greed and the
medias relentless appetite for carnage at any cost. Id definitely get down to
Charing Cross Theatre for this interesting, lively and very well acted
musical.

On In London  Bel-Ami

The world premiere of Guy de Maupassants
novel Bel Ami couldnt have come at a more topical time. Delving into the murky world
of journalism and politics Bel Ami churns up a story of corruption, greed, immorality and
hypocrisy at the highest echelons of society. Originally set in the 1880s it is rather
worrying how easily this story befits its 21st Century guise with headline ink still
drying on reports from the Leveson inquiry and subsequent trials.

The lead role of George Dury was played spectacularly by
Johnny Fitzharris who embodied the role incredibly well. Belting out tunes such as
Dont Question Me with such a formidable force that it left you in no
doubt as to his capabilities as a performer. The ensemble were fantastic and did well to
set the scene creating brilliant moments to watch, such as the commuters journey and
Too Much Money, showing MPs frolicking in their Caribbean playground.

London College of Music should be congratulated for this
endeavour it is a brave undertaking to achieve what they have and the cast certainly
gave it their all.

It was worth every minute - this is a superlative
new musical with a great score and excellent lyrics, dynamic choreography and fine lead
performances.

Absolutely loved this. The set pieces, choreography
and music are amazing. Would love to see it again! A great musical.

Awesome! Very engaging, amusing and an altogether
riveting performance with great vocals and dance.

A great show full of life, enthusiasm and pizazz!
Excellent choreography and music. Very relevant to today's world with sleazy journalists,
money-makers and members of parliament. It was certainly thought-provoking in a very
entertaining way. The music was varied and very uplifting. I would certainly recommend a
visit to this production for an entertaining and fun evening.

What energy and professionalism by the cast of this
musical on their opening night. The music was great and the singing by the cast was
excellent. Surely some stars in the making.

Evening Standard Critics Choice - The
Remains of the Day

A cursory glance
at The Remains of the Day, a novel of subtlety and nuance, would suggest it is an unlikely
candidate to be turned into a musical, a genre that often over-emphasises the obvious.
Kazuo Ishiguros masterful study of quintessential English reserve in the first half
of the last century, turned into a magnificent Merchant Ivory film starring Anthony
Hopkins and Emma Thompson, doesnt exactly beg to have songs inserted. Yet from such
seemingly unpromising source material Alex Loveless has crafted a sophisticated piece of
musical theatre.

A strong sense of magisterial Darlington Hall, home of a
Nazi-sympathising lord and place of work for butler Mr Stevens (Stephen Rashbrook) and
housekeeper Miss Kenton (Lucy Bradshaw) is skilfully evoked in the small playing space,
and director Chris Loveless captures the milieu perfectly via maids whispering in corners.
The central thrust of the narrative is the years-long non-romance between the central
characters, due to the obsessively decorous Stevens putting service before any
vestige of a personal life.

Rashbrook gives a marvellously restrained performance
that hints at the unexplored depths of Stevenss soul and he and Bradshaw, plus a
top-notch ensemble, make easy work of the songs, many of which have a solemn and hymn-like
feel. Its not all gloom, though, with the frothy music hall number The End of the
Pier to lighten the mood. A canny West End producer could do far worse than to tweak this
fine show for a transfer.

Evening Standard  The Remains of the
Day

Time Outs Best Theatre This Month
(September 2010)  The Remains of the Day

Its somewhat surprising that writer and
composer Alex Loveless decided to turn Kazuo Ishiguros The Remains of the Day into a
musical. Whats even more surprising is that, by and large, his radical
transformation of this story works the songs are almost always well-integrated,
intelligently written, and subtly performed.

Whats On Stage  The Remains of
the Day

Fine ballads An engaging libretto.

The Stage  The Remains of the Day

The adaptation flows sustaining the mood of the
times with music that is melodic in its songs yet lively enough for the dancing It
is all woven together in fluid strokes. It is a gem a jewel that shines its
light and lingers on. Export to the West End, Lincoln Center, BAM, Kennedy Center,
etc.

Blanche Marvin's London Theatreviews  The
Remains of the Day

Poignant in the extreme deeply moving. The
entire book, music and lyrics is credited to the young (and extremely gifted) composer
Alex Loveless.

Musical Stages  The Remains of the Day

It was difficult, at first, to accept the idea of
Kazuo Ishiguro's wonderful book as a musical. The Merchant Ivory film was as close to the
book as I imagined it was possible to get with Anthony Hopkins making the role of the
quintessential butler, Stevens, very much his own among a brilliant cast. Yet the key
theme of declining British hegemony, as played out in Darlington Hall at key moments just
before the Second World War in 1935, looking back through the eyes of Stevens (Stephen
Rashbrook), from around the time of the Suez Crisis in the 1950s, is rendered perfectly on
stage in this musical production.

The complexities of the political machinations of
'gentlemen amateurs' like Lord Darlington (Alan Vicary), who seeks to forge European
alliances with the Nazis, is, yes I know it's hard to believe, sung in thrilling ensembles
such as 'The French' in Act I and 'Democracy' in Act II. The American challenger Mr
Lewis/Mr Farraday (Reuben Kaye) becomes Stevens' master at Darlington Hall, just as the
Americans take the lead as world superpower from the British after the Suez Crisis, and
sings 'Divide and Rule' to the gathered European politicians, taking on the tactics which
allowed Britain to remain world leader for so long.

A combination of dramatic dialogue, singing, and dancing
brought the characters to life with an emotional subtlety that bewitched the audience in
the Union Theatre.

When Stevens follows Lord Darlington's directive to
dismiss the two Jewish servants in the household, Miss Kenton's argument on their behalf
and their leave-taking in 'Close Your Eyes' is really moving, and beautifully sung by
Gemma Salter and Katia Sartini as Sarah and Ruth.

The music, composed by Alex Loveless, was divine and
worthy of attendance by itself.

I didn't expect a work of such understated quality to be
rendered well in a musical but it was a true success. An all singing, all dancing Remains
of the Day seemed a questionable enterprise, but I enjoyed every moment of it and left
excitedly discussing new angles of a book and film I had thought it would be impossible to
improve on. However, new wine in old bottles can sometimes be a very good thing.

Extra! Extra!  The Remains of the Day

One might
be forgiven for hesitating to see a musical version of the celebrated novel The Remains of
the Day but this production, like a well-kept house, handles each and every aspect
skilfully and is deserving of praise. The historical grounding (though largely fictional)
is well grounded and the interesting time is handled unpretentiously by Loveless's script
and lyrics. The Remains of the day tugs at the heartstrings with such strength that one
wishes this was staged in a larger space, with more people able to experience it.

Remotegoat  The Remains of the Day

 it is good to welcome a musical version of
The Remains of the Day, perhaps because it doesnt ruin ones
recollections of the book or the film. Adding the songs in the way that Alex Loveless has
done helps the story along mainly in a through-composed way that explains both the
thoughts and emotions of the characters involved. The lyrics in The Remains of the
Day are not banal but are still conversational in the way that Stephen Sondheim
writes in, say, Company, Assassins or Sweeney Todd.
The songs, a mixture of lively music and more contemplative ballads, set the scene well
and provide a suitable atmosphere for the narrative. Scored for woodwind and strings, it
has a delightfully plangent quality. It is in essence a charming piece It is not
often that new musicals are instantly successful. The Remains of the Day seems
to be an exception that works from first word to last.

Classical Source - The Remains of the Day

Alex Loveless has concocted a recipe of delicious
songs For example, the starkly entitled number, The French, immediately conjures up
the required notion of stiff, upper-lipped Englishness, which is preceded beautifully by
the gorgeous, string-drenched melody The Remains of the Day. The lyrics of the song, sung
by Stevens towards the close of the play, finally expose the haunting undercurrent that
pervades throughout, even during rare moments of levity. Equally, one could not fail to be
impressed by Miss Kentons enchanting delivery of The Way That Once We Were. Needless
to say, a transfer to the majestic West End stage could only do a service to this already
distinguished production.

Irish World  The Remains of the Day

Loveless, who is making a fine name for himself on
the fringe circuit, has used the novel as a springboard for a multitude of his own ideas,
and they're great ideas Though the ensemble scenes in this musical are well
thought-out, Loveless has created a musical that celebrates the individuality of each
character, as proved by the memorable scenes between Bradshaw and Rashbrook.

Spoonfed - The Remains of the Day

Easy-on-the-ear songs Alex Loveless
music and lyrics faithfully convey the spirit of Bram Stokers novel and deftly
build up the drama, which makes for highly-enjoyable studio theatre entertainment.

The Stage  Dracula

A musical
version of Dracula could have gone horribly wrong, but The Fallen Angel Theatre Company
have managed to pull off an entertaining evening, in this well produced version of the
gothic classic. A night of bloody good fun.

Whats On Stage - Dracula

The music is atmospheric and delightfully melodic.
Alex Loveless has the knack of writing tunes that sound at the same time both fresh and
familiar. In I Am Great Atilla there is a fine number in which Leigh
Joness strong, fine-voiced Dracula recounts his descent from the conquering Hun and
A Kiss Can Last Forever is a lyrical love duet when Dracula is ensnaring
Annabel Kings Mina. [The production] doesnt indulge in overblown histrionics
or aim at spectacular effects but gets on with the story and flows rapidly from scene to
scene.

British Theatre Guide  Dracula

It is this attention to the human aspect that makes
this version [of Dracula] by far the most successful that I have seen to date. The
epic style he has adopted works beautifully What is also effective is
the cinematic style of underscoring the dialogue, coupled with a number of memorable
songs at last someone writes a tune you can remember the following morning... Alex
Lovelesss Dracula is an intelligent and memorable interpretation of the Stoker
novel, a feat that has eluded many of those who have tried before him. One hopes that this
new musical will capture the attention of those in a position to develop the piece as it
is one of few new works that truly does have potential to go further.

Musical Stages Magazine  Dracula

It works, and it works mainly because of the
quality of the songs Alex Loveless lyrics combine good rhyme with light
irony Creating an air of menace/chill are the ensemble pieces. The
Seduction  a number twice reprised  binds the musical together. This is
an alternative to the West End, perhaps not so lavish but certainly not lacking in
quality.

UK Theatre Net  Dracula

Isn't a musical
of Dracula a slightly odd idea? Aren't vampires supposed to be cold, aloof and silent -
not enthusiastically belting out a show stopping good tune as though they are in an Undead
Xfactor? But this play is worth a second look (and hearing). The musical breathes new life
to the 1897 melodrama, and is a brave and vigorous adaptation of the horror classic. If
singing vampires are your thing, see them here.

Remotegoat  Dracula

The Loveless Brothers, Alex (composer) and Chris
(director), created a remarkably effective sung-through version of the story,
managing to avoid falling into laughable melodrama. The musical followed the
epic style of the novel  with its diary and letter form  and the
result was an intelligent, gripping and fluid show with a twelve strong cast and musical
accompaniment from an electric keyboard occasionally accompanied by cast members on cello,
oboe and guitar. The music came in for especial praise, and it was generally felt this
could be a show with a future.

Closing in on Andrew Lloyd Webber a cracking
story line The score is quite marvellous with some good chorus numbers and
some songs that can stand up on their own The words are so good there are some
thrilling moments of drama in this piece.